make up her sister-in-law’s social group. After the birth episode,
viewers see Jill becoming closer to Brooke and more entrenched
in her sister-in-law’s social circle. It is as if the birthing experience
bonds the two women at an emotional level and serves as the
turning point in Jill’s choice between the authentic and the
aspirational. Ultimately, Jill turns toward the aspirational, and the
show then fails as satire because there is no strong and enduring
character left to hold society up to ridicule; satire requires
characters and situations be situated in a critical context that calls
out the negative elements of society to advocate for change
(Teuth).
Although the sitcom formula of poking fun at the lifestyles
of the rich and famous is not new, the way in which Bravo TV’s
Odd Mom Out presents an exaggerated take on the negative
elements and implications of the lifestyle is quite fascinating. At
the same time, there is a classical referent for what happens in this
episodic narrative. In conventional narrative structures dating back
to Aristotle, the protagonist faces both internal struggle and an
antagonist. Unfortunately, the "odd mom out" opts in during this
series and takes on characteristics of the opposing forces. As Jill
struggles with a tug-of-war between hating the rich women
shopping on Fifth Avenue and becoming a shopper herself, the
complex nature of the authentic versus the aspirational narrative
does not go unnoticed. There is great complexity within the many
characters of Odd Mom Out, but as the show’s protagonist, Jill’s
development and struggle to fit in is most intriguing. It is her
constant struggle to juggle her role as mother, as wife, and as friend
that defines the series. The whole show is built upon a grand loss
of perspective, and it is this loss of perspective surely something
most viewers can identify with to some degree that provides an
opportunity to critique not just these characters and situations but
the whole genre of reality television. What happens to the meaning
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